“Much of the work is suggestive: a mattress slung over a dead tree, the remains of ID photos discarded on the ground, or thousands of wipes of ink from passing fingers on a wall,” Nga told me. “I decided to shoot solely using the part of my brain that I don’t tend to use when working on deadline, focussing more on what I refer to as the artifacts of the situation as opposed to the situation itself.” Working with a medium-format camera that uses large-format lenses, Nga was forced to “slow down, stop, take inventory of everything and then proceed,” a technique that fit his intentions. “Stillness and still life are a large part of how I process such huge events and stories,” he said. “To me they give a greater relief to what I am feeling and how I am understanding what is going on.” Here is a look at what Nga saw at Dadaab.